In Memory 10.11.2012 - The Killing Jar - Installation & Talk

After much planning, emails and butterfly folding I arrived at the Walker Art Gallery to give my artist talk and deliver the workshop. I was welcomed into the bowels of the Gallery and delivered to the resource area by means of the biggest lift I have ever seen. Angelica was on hand to setup the workshop area, and we began to pin the butterflies in preparation for the workshop. The artist talk took place in the main gallery in front of my painting. If you want to find out more about that some of the main topics that I covered are in this interview by Stephen Martin click here

The initial aim of the workshop was to deliver a collaborative installation piece that could be contributed to over the day by members of the general public; it had to have a painted element and reference my entry for the John Moores painting prize. I knew straight away what I wanted to do, and it was a piece that was on my mind for some time.

437 butterflies were folded and painted each one represented a British serviceman or woman who had lost their life in the current afghan conflict. One member of the public said “Its quite sad really when you see how many people have died, the families that have been effected, loved ones lost”.

The final piece is on Display at the Walker art Gallery until the end of the John Moores Painting Prize 5th January 2013.

The Killing Jar - In Memory - 10.11.2012

I have been asked to give an artist talk on my process and practise at the Walker Art Gallery, this is also to be followed by a workshop examining the concepts behind my entry into this yeas John Moores painting prize.

The talk starts at 12.30 and is a free event, the workshop starts at 2pm or just after the talk till 4pm. The workshop will give people an opportunity to paint or fold a butterfly, or they can contribute by using a piece of their own paper, something that is important or relevant to their own lives.

The workshop is a collaborative installation of 433 folded paper butterflies, a butterfly for each of the British servicemen and women that have lost their lives in the current Afghan conflict. The butterflies are folded from envelopes that have travelled through the postal system.

The installation will be in the resource area next to the John Moores 2012 exhibition. The installation will be on display until January 6th 2013.

More info here:  http://www.liverpoolmuseums.org.uk/events/
or on the BBC website here: http://www.bbc.co.uk

John Moores Painting Prize 2012

I am extremely pleased to announce that my painting The Killing Jar - Collateral Damage 14.I.2012 has been selected for this years John Moores Painting prize. I have been entering this competion for the past 12 years and to have a piece selected is a great achievement.

And as an added bonus an image of the paintings appears on the painting prize home page, now not one to normally blow my own trumpet but I think I need to maximise on this opportunity....

To view the 62 exhibitors please click here

Eddie Price a Retrospective 21st June Curatorial Project

Over the past few weeks and months I have been working with fellow artist and friend Eddie Price, we frequently have a tête-à-tête and discuss artists, ideas and a smattering of philosophy. This coming Thursday is an exhibition of his work that I have curated with fellow artist Alison Kershaw. The exhibition is at the AWOL gallery on the fifth floor of Hope Mill, more details below.

Prolific Manchester Artist Edward William Price has been working tirelessly to create his own inimitable style. A blend of traditional woodcuts, graphic arts and xerographic prints form the foundation of a body of work that spans a quarter of a century.

The process starts with an idea or visioning, rooted deeply in the sub-conscious, or found in biomorphic shapes or inspired by the work of another artist. Then through a very laborious and traditional approach the work evolves organically sometimes over numerous drawings and renditions. The finished piece is then transformed through the reproductive process of xerography and worked on further.

A retrospective exhibition of artwork coming this month to the AWOL Gallery at Hope Mill in Ancoats.

Opening night Thursday 21st June 2012 6 – 9pm

Awol Gallery, 5th Floor Hope Mill, 113 Pollard St, Manchester M4 7JA

Exhibition continues Friday 22nd, Saturday 23rd and Sunday 24th June 10am till 2pm

and the following weekend Saturday 30th June and Sunday 1st July 10am till 2pm

This exhibition is curated by Alison Kershaw and James Bloomfield

John Moores Stage 2 2012 ART CRATE CONSTRUCTION

For the past two weeks I have been busy making a display crate for my stage two entry of the John Moores painting prize 2012. I am really happy to have made the cut so far and fingers crossed for actually being accepted into the exhibition. 

The team at the John Moores have been extremely helpful, with both Harriet and Richard giving advice and support for the display of what is quite a difficult piece. The work is on re-claimed plasterboard and I have had to make a cradle with split baton and then a display crate to show the piece without it actually being handled.

I did quite a bit of research and finally came up with the following design, I also wanted to include the crate in the artwork and wanted to paint the crate up like an army crate, just to tie in with the painting. I found this wonderful green paint and some great handles. I hand cut some stencils this morning just to add the directions for opening and safe storage

I finally finished the art crate this morning after getting up at 5am to put the finishing touches to it. I am quite pleased with it! I borrowed the LIME arts trusty van and set off to Liverpool to deliver the painting to the back of the World Museum. Here I was greeted by Harriet and Richard and they helped me in with what has become quite a large and heavy piece.

 I checked the painting to make sure that the crate had done its job and was relieved to find it all in one piece, I quickly touched up the black frame and handed it over! It is now over to the judges to see if it meets their idea of the best of contemporary painting. Fingers Crossed!

Collateral Damage January 2012

This is my entry into this years John Moores painting prize, I will find out on the 6th of April if I have made it through stage 1. I think its important for artists to express how they feel both politically and emotionally through their practise. Too much emphasis is placed on being a successful artist, pandering to public ideals of what they are led to believe is art. Forever trying to hit a brief or capture a market , whats wrong with just creating something just for the pleasure of creating. Entering into the unknown, following an idea through, blindly believing that something worthwhile will appear in front of you.

Some of the easiest paintings I have completed have come this way, but I have been too lacking in confidence to put them out for public viewing, fearing rejection or critical response. Feeling that there should be more too it than merely just creating something.

Recently I have been working with a new emerging artist who has taken Art for what it is, enjoyment, he has tackled his feelings, past, and present and exploded these into being with any possible means. His shear creativity and fearless approach has been truly inspirational, and I credit this piece to working with him over the past 18 months. He too has entered something for the competition something quite outlandish , something that I can't even begin to comprehend; but does this matter, just the fact that its in the mix, is enough.

So together we are waiting for the 6th of April, me quietly, cynically, hoping and my good friend outrageously optimistic, well maybe just quietly oblivious, if it gets in so be it, if not it doesn't really matter. The important thing being that we created honestly and with vigour.

JOHN MOORES 2012 "Collateral Damage"

This years entry for the John Moores painting prize is part of my on going project the Killing Jar. The piece was first conceived when I saw the footage of Collateral Murder released from Wiki-Leaks, Jukian Assange.

The painting is on re-claimed plasterboard and uses household paint, the piece represents a still taken from the infra-red camera footage where 15 people were killed by American forces. By using everyday familiar, DIY items, I wanted to highlight the fact of how de-sensitized we are becoming to such events and how they are becoming the fabric of everyday life.